Blue_Opossum

Morning of September 22, 2018. Saturday.

Reading time: 1 min 22 sec. Readability score: 62.



I am sitting in a wooden chair that is first in a mostly undefined featureless room, though with a vague essence of our present home. It is possibly late morning at first. The passage of time seems unusual at the beginning. Several years may have passed very quickly with a brief awareness of different seasons. Soon, it is in an overgrown field. A Twin Wasp engine is on the ground, a few weeds growing around it. It seems to be golden at one point.

The rest of the airplane is elsewhere in the field. There is a 1940s feeling, though based on movies of the time. It seems my task is to fly two ballet dancers (male and female, about thirty years of age), in white, from the area, where they have been for a very long time, living in the minimal ruins of an unknown region. They have still been able to thrive somehow.

Although they sit in the back of a small airplane, they seem to be mentally flying it as I sit in the pilot’s seat. There is a sustained awareness of motion. We move through liminal space of only vague definition as the sky. When I look back at the waking point, they are no longer present.

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Vestibular system avatars sometimes have attributes associated with dancing as a result of the subliminal, liminal, or lucid control of, or focus upon, the illusory physicality of the dream state, the fluidity of adapting to changes in consciousness as well and anticipation of the waking start, even through hypnopompic transitions when they occur. I began to realize this when I was four years old. Airplanes and virtually all flight-related factors (including flying under my own will) are a common dynamic of the process, being present throughout every sleep cycle for over fifty years. Not counting flying under my own will, mechanical forms of flight, such as airplanes, helicopters, and spaceships, when compared with birds, seem to occur with about equal frequency.

Gold always correlates with dream state vivification and the emerging consciousness factor.

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Reading time: 3 min 53 sec. Readability score: 57.



Many specific patterns linked directly to the dreaming and waking process and its autosymbolism have been occurring continuously in my dreams for over fifty years, most occurring one or more times each sleep cycle.

White Helicopter and Clock Tower.

Morning of December 31, 2012. Monday.

A white helicopter flies over a mostly featureless green field. It flies to the left of a clock tower that displays five minutes past ten. There is a vague apprehension of the rotor blades hitting the tower, but this does not occur.

Vestibular system correlation of this nature is by emerging consciousness definition, represented by the clock tower which also correlates to the ultradian rhythm at the end of the waking process.

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Now I will look at other dreams (posted previously) that are a model of the same dreaming and waking process.

In “Brother Earl’s Flying Saucer,” from November 29, 1976, this same waking process renders a spacecraft that my older brother Earl supposedly built. The spacecraft looks much like the Flying Sub from the television series “Voyage to the Bottom of the Sea.” It flies to the left of a clock tower. Regardless of a couple near misses with the tops of buildings, it successfully flies away.

In “Not Quite Paris,” from June 13, 1978, I non-lucidly choose to place my focus closer to the process of vestibular system correlation. In this specific case, it is the Eiffel Tower, not a clock tower, but it is still the reactive representation of the emerging consciousness.

In “Helicopter Ride into the Beautiful Mountains,” from February 8, 2017, the right side of the helicopter I am flying in taps a commercial building, but surprisingly, does not result in a mishap.

In “Failed Flight (Wing Knocking On Eaves),” from October 1, 2014, the wings of the Cessna that someone else is flying is tapping the eaves of a building I am in on the fourth floor. I see it through the windows to my right. Instead of crashing into the building’s exterior wall of which is perpendicular to the section of the building that I am in, it stops and falls.

In “Computer Tunnel?” from September 11, 1983, a low-flying airplane crashed into one of two skyscrapers. I am in a wheat field and run through a tunnel with walls like a printed circuit.

In “The Future Delegates,” from September 11, 1982, while hugging, my “dream girl” (Zsuzsanna) and I jump from atop an airplane as it approaches a burning city and one of two skyscrapers. (Note that this was the precognitive form of Zsuzsanna before I knew of her in waking life, before our contact in 1991 and before we met in 1994).

In “Amusing Helicopter ‘Rescue’ (with Pierce Brosnan),” from May 19, 2016, a miniature version of Pierce Brosnan (as James Bond) in a miniature helicopter “rescues” an effigy of me from the top of a high building. I place a tiny human-shaped pillow (meant to be “me”) into a small bed in the miniature helicopter.

In “School-Bus-Plane Over Ancient Greece,” from November 16, 1969, I am on a flying school bus. Ahead, through the front windows, I see scenes of ancient Greece; the Oracle at Delphi and the Temple of Athena Nike. We seem to be ready to land. There is a sense of looking into the distant past.

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Thousands of other dreams that I have experienced and resolved since early childhood use this same basic template. Astoundingly, most people seem to ignore everything that is in plain sight (no pun intended). They prefer to pretend that the dream has “symbolism” related to waking life when such a process is typically not even viable. (Consider how difficult it is to read in dreams, or for that matter, even think at all other than in lucid states.)

This type of dream is an extension of the flying, falling, or rising dreams, which has nothing to do with real-life factors other than in rare cases. It is a result of the vestibular system correlation of the waking process, as the reactive representation of emerging from sleep and is not symbolic in the conventional sense. A tower or other high building of the emerging consciousness becomes the focal point in some cases, though not always. It is all about correlating illusory physicality and increasing dynamics of the conscious self as in waking life. Whether or not you maintain either non-lucid or lucid dream control, such control has little to do with real life, but the extent of knowledge of the dream state and specific level of sleep.

What does the conscious self possess that the dream self does not? There are many factors. One is the inability of the dream self to viably discern where his physical body is as he or she sleeps. That is a no-brainer, but many people do not even seem to have the slightest grasp of what it means or the nature of related reactive representation in the dream state. They go on to pretend there is a correlation, corrupting the “I am” of the dream state with the “I am” of current waking life, thereby on a path of misconception.

Once anyone of reasonable intelligence dismisses the notion of waking life “interpretation,” or things “indicating” other things (relative to dream self to conscious self) new opportunities and clarity of mind develop. People who only pretend to understand dreams are easily recognized and dismissed. The causes and effects of the dreaming and waking process are more clearly understood, and non-lucidly or lucidly controlled. (Contrary to popular misconception, lucidity and dream control are unrelated, and in fact, many dreamers have less control when they are lucid than non-lucid. That is because of how the reticular formation functions. Many people who talk about “becoming lucid” have no understanding of what the dream state is.) “Bad” dreams become very rare and the potential for prescience increases. However, as can be seen here (with the September 11 dreams), prescience often correlates with the patterns of the dreaming and waking process.

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Morning of December 25, 2016. Sunday.



I seem to be in a very large unfamiliar room with a high ceiling that seems to be in a large commercial building. However, it is meant to be the inside of a helicopter (though the fact it looks nothing like the inside of a helicopter in any way does not trigger any level of doubt or any type of realization). I am apparently flying in this “helicopter” as a passenger. There are two unfamiliar male pilots (in black pants and white shirts) who mostly remain seated on the opposite side of the room from me. They face toward a wall looking at a number of monitors. At times, they seem to be typing flight instructions on keyboards as they look at the monitors. There is also some communication now and then with air traffic controllers or at least some people on the ground.

The “helicopter” is supposed to be landing somewhere soon, but it is not safe to land anywhere in the area due to a mist that remains at least six feet above the ground and is covering unseen large rocks everywhere in the landscape. Some parts of some rocks protrude upward from the mist. It seems to be part of a canyon or possibly a series of canyons, all with mist and rocks. This puzzles me somewhat but nothing about the situation seems wrong or threatening to me.

One of the pilots, while standing near the desk-like extension from the wall, seems to relate to the other that he could land without hitting a rock though no attempts at landing occur, at least any of which I become directly aware. There is a sense of movement at one point where the room seems to slowly turn in a circle but there is no disorientation or perceived danger on my part. I seem to be lying on my left side at one point though not directly aware of being on a bed. I start to think about the “helicopter” landing on the flat ground between large jagged rocks. I do not feel concerned about anything. The pilots do not address me at any point.

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This dream’s autosymbolic meaning is based on the biological nature of the dream state itself and obviously has nothing to do with waking life, especially as the autosymbolism’s phrasing in hypnopompic disclosure is known. A helicopter (which has been a recurring emergent consciousness factor in my dreams since early childhood), as with vehicles in general, is an autosymbolic extension of my physical body in REM sleep, though with a more defined subliminal discernment of the vestibular system ambiguity that occurs naturally in unconsciousness, than with similar autosymbolic extensions such as a motorcycle. This dream’s autosymbolism was based on a typical unconscious phrasing, “Although I am now sleeping, I am becoming more aware of my real environment and of my physical body, which is operating smoothly”. The jagged rocks are autosymbolic of a vague anticipation of a waking start (hypnopompic kick or other involuntary muscle event), though of which does not occur, and the mist of course is autosymbolism for the dream state itself. This dream has a curious ambiguity of taking the subliminal awareness of being in our bedroom and sustaining it with the typical return flight waking symbolism, a type of RAS mediation which has occurred in at least one dream per regular sleeping period for over fifty years. As I am already in the more defined liminal space of conscious self recognition in passive waking transition, there is no dominant RAS modulation and the pilots of course are RAS personification and the emergence of thinking skills, which typically do not exist in the dream state.

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Morning of December 25, 2014. Thursday.



I am on a helicopter seemingly in early evening, though before sunset, with unfamiliar people (including the pilot), apparently all adult males of around thirty (though I have no focus on my own age). We are flying over the ocean. I notice several girls swimming in the ocean far below. Without paying much attention to my present circumstances, a young girl is soon seen hanging in the doorway of the helicopter, to my right but only half inside, somehow having come from the ocean far below, apparently by flying. Her facial expression is cheerfully mischievous though friendly. At this point, I notice there is no pilot (of whom had originally been on my right), yet I feel only mild concern. However, two seagulls ahead, one on each side, somehow seem to be guiding the helicopter back to land by their presence alone. I assume the girl is a shape shifter whose natural form is a seagull.

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Water Induction - Vestibular System Personification, female (subliminal summoning of young version of Zsuzsanna) - Parallel Autosymbolism; RFWS (Return Flight Waking Symbolism) with WEWS (Water Emergence Waking Symbolism) - RAS truncation (pilot vanishing) - Vestibular System Mediation (soft waking) - Emergent Consciousness Factor as flight symbol - right-sided waking symbolism while sleeping on my left side.

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Morning of March 10, 1978. Friday.



My dream features a fictitious Lloyd Bridges movie that is about a man driving on unusual bridges and overpasses. The title is “Bridges”. It features a surreal psychological theme. The main setting seems to be Port Charlotte, Florida.

The movie explores a man’s obsession with his need to drive over every bridge and overpass in America at least once, regardless of its condition or if construction has completed. He spends most of his time in his goal. He has stress from not getting enough sleep and spending so much time driving. He uses dangerous methods that stem from his desire to create more of a challenge, getting his car airborne at times.

My dream includes divided screens of different sizes with inset videos of his activities. I do not seem to be an active character in my dream at any point, though I do seem present during many of the events, including the last scene.

In the movie’s last scene, he drives fast onto an unrealistic steep overpass which seems dangerous and apparently incomplete. I hear one man say loudly to another (speaking above the noise of traffic), “I just hope he comes down all right”. These unfamiliar men are standing near the side of the road below the overpass. I seem to be looking at the overpass from above just prior to waking, though I had also seemed incorporeal while flying and viewing Lloyd from the side of his car as he was driving it. There is no indication of harm coming to him. I see the movie’s credits rolling as I wake, though the movie’s ending is not resolved.

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Dream influences and other notes:

The main influence was a dream state indicator, though it did not bring about lucidity. This was a liminal and nostalgic focus on “The Deadly Dream”; a TV Movie that first aired on September 25, 1971 and starred Lloyd Bridges. Concerning Lloyd Bridges (January 15, 1913-March 10, 1998), note the curious date correlation of twenty years after my dream.

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“I just hope he comes down all right” is a reference to the process of vestibular system correlation as part of the natural waking process.

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I explain this dream type and meaning further in “Dreams of Type PRECONAV-VSCPCEL, 01-15”.

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